Los Angeles Downtown News 11-09-20

Llewellyn November 9, 2020 I VOL. 49 I #45

318-unit apartment community coming to Mission Junction

Damian Chef Enrique Olvera arrives Downtown Page 7

MASH City Haleh Mashian debuts retrospective show, fashion line Page 10

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NOVEMBER 9, 2020

The 30,000-square-foot market offers a mix of more than 35 vendors, some of whom have been in the space for decades and others who are newer to the market.

Grand Central Market has endured two global pandemics, COVID-19 and the 1918 influenza pandemic.

Photo by Jakob Layman

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Grand Central Market celebrates 103 years

By Laura Latzko part of Downtown Los Angeles’ diverse history, the Grand Central Market is celebrating its 103rd anniversary this year.

Grand Central Market has endured two global pandemics, COVID-19 and the 1918 influenza pandemic.

Creative Director Erin Mavian said like the city, the market has been through ups and downs, but it has survived by constantly reinventing itself.

“It’s been a cornerstone of Los Angeles culture since Los Angeles started,” Mavian

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said. “There weren’t a lot of things that were around at the turn of the century in LA. Grand Central Market is one of them.

“Downtown Los Angeles has a rocky history. The resilience and perseverance of the market and the vendors, knowing what they’ve gone through in the ’60s, ’70s, ’80s and ’90s, all the way up through today, it is inspiring.”

To celebrate its anniversary, the market recently held a Market Mashup series, in which vendors worked together to create special dishes.

Mavian said thus far, customers have re-

Los Angeles Downtown News 161 Pasadena Ave., Suite B South Pasadena, CA 91030 213-481-1448

Photo by Jakob Layman

sponded positively to the mashups, and these types of collaborations are likely to continue.

“To see a collaboration between your favorite vendor and another vendor at Grand Central Market is really appealing. We wanted to think of reasons to bring people to the market in a safe way,” Mavian said.

“Because the mashup only runs for a certain amount of time, it is limited edition.

That creates a sense of urgency. You definitely want to try it and taste it.”

The market is planning to bring in chefs and restaurant concepts for pop-ups. Wexler’s Deli spotlights guest chefs as part of its Hustle and Motivate series.

whole to develop innovative offerings that attract new and returning guests.

The Oyster Gourmet, for example, created disposable trays in which oysters stay fresh for three to four hours.

“It’s a moment of innovative, invention and reinvention,” Mavian said. “We are not afraid to try things. We always look to our community of vendors but also to LA as a whole for what we should do next and ways to interest and excite people about Grand Central Market.”

From Thursdays to Sundays, the market has been holding a weekly bazaar where artists, makers and merchants can sell their work. The bazaar starts at 11 a.m. and goes until closing.

The 30,000-square-foot market offers Sticking with restrictions EXECUTIVE EDITOR: Christina Fuoco-Karasinski a mix of more than 35 vendors, some of STAFF WRITERS: Andrew Checchia, Andres De Ocampo, Julia Shapero whomKirk have been in the space for decades This year,CONTRIBUTING the market hasSara evolved WRITERS: Edwards, Kamala others who are newer to the market. as it has to ART adjust to changes due to Stephanie the and DIRECTORS: Arman Olivares, Torres COVID-19 has been tough for local busiCOVID-19. STAFF PHOTOGRAPHER: Luis Chavez CONTRIBUTING PHOTOGRAPHERS: Myriam Santos The biggest adjustment is many of the nesses, and market vendors are not imACCOUNT EXECUTIVES: Catherine Holloway, Michael Lamb vendors haveFOUNDER had to EMERITUS: offer takeout, curbside mune to this. Two vendors, Press Brothers Sue Laris Juicery and Kismet Falafel, closed their marpickup and delivery options.

Mavian said with changing times, it is ket locations this year.

Over the next few months, a handful of important for vendors and the market as a

EXECUTIVE EDITOR: Christina Fuoco-Karasinski STAFF WRITERS: Olivia Dow, Annika Tomlin CONTRIBUTING WRITERS: Laura Latzko, Frier McCollister ART DIRECTORS: Arman Olivares, Stephanie Torres STAFF PHOTOGRAPHER: Luis Chavez CONTRIBUTING PHOTOGRAPHERS: Jakob Layman, Meeno, Peggy Sirota ACCOUNT EXECUTIVES: Catherine Holloway, Michael Lamb FOUNDER EMERITUS: Sue Laris

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new vendors are expected to start operating.

Mavian says it is important for the market to offer diverse, high-quality food options for guests.

“It’s a really special place,” Mavian said.

“Because there is limited space, we are careful with who and how we lease. We are very thoughtful. We root for the underdogs because at one point Grand Central Market was an underdog as well—people who are local to Los Angeles, born and raised or moved here and are invested in the community and Downtown, people who have incredible stories and backgrounds and are committed to enhancing the experience of Grand Central Market and serving worldclass food on a daily basis.”

A buffet of food Grand Central Market has been in operation since 1917 and has attracted a variety of customer bases over the years.

When it opened, it was frequented by wealthy homeowners from Bunker Hill, who bought their groceries, ate lunch and attended theater Downtown.

Later, the market was popular among working-class people who worked and shopped in Downtown, including members of the Latino community.

These days, the market draws an eclec-

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tic mix of foodies from different parts of the city, many of whom are longtime supporters of the mom-and-pop vendors.

At the beginning, the open-air market offered bakery, deli, meat, fish, flower, candy and specialty item stalls. These days, vendors tend to sell prepared meals and artisan items such as cheeses, meats and baked goods.

Many of the vendors draw customers looking for specialty or seasonal foods, such as strawberry or peach doughnuts from the Donut Man. A few of the vendors offer exclusive items that are only available at their market locations. Customers can find fried artichokes at Golden Road Brewing, LA-style pastrami sandwiches at Wexler’s Deli and duck fat fries at Belcampo Restaurant and Butcher Shop.

At the heart of the market are longtime “legacy” vendors, who have helped to bring in loyal customer bases and shape the space into what it is.

“The majority of those businesses are either family run or generational, which we love,” Mavian said.

The oldest vendor, Roast to Go, which sells tacos, burritos and meats by the pound, opened in 1952.

China Café offers dishes like chow mein, fried rice, chop suey and wonton soup. It started at the market in 1959.

Another of the market’s longtime vendors, the Latin grocer Chiles Secos, has operated at the market since 1975 and offers homemade moles, dried beans, rice and specialty products.

The owner of Tacos Tumbras a Tomas, a vendor offering items such as tortas, tacos and burritos, started working at the market in 1972. His stall, which opened in the ’90s, continues to be one of the most popular spots at the market.

Building owners Grand Central Market has been at the center of Downtown LA’s culture since it opened in October 1917 on the ground floor of the Homer Laughlin Building, Downtown’s first steel-reinforced and fireproofed building.

This structure, along with an adjacent annex building, has been home to the market throughout its history.

Throughout the market’s 103-year history, these buildings have always been privately owned.

Adam Daneshgar of Langdon Street Cap-

ital, the latest owner, recently purchased the structures, along with the historic Million Dollar Theatre, in 2017.

Before this, they were owned by developer Ira Yellin and his wife Adele, who worked to update and bring in new vendors to the market.

Mavian said it is important for the market to continue to grow along with the Downtown area to meet the needs to those it serves.

“Downtown is definitely having a renaissance moment,” Mavian said.

“Having new, interesting and unique concepts is important, as trends, restaurants and lifestyles change. We do pay attention to what people are talking about, if there’s a new up-and-coming chef or any type of cuisine. We’re always in touch and talking as a community and with our vendors.”

“It’s important for us to pay attention, especially as Downtown continues to build up with so much residential development.

Anticipating what the needs of the Downtown residents and the DTLA community are going to be in the next five, 10, 15, 50 years is also really important to us.”

Grand Central Market 308 S. Hill Street, Downtown grandcentralmarket.com 8 a.m. to 9 p.m. daily

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Covered California will help OPINION

NOVEMBER 9, 2020

DUFFY’S OPINION

Change for homelessness

By Michael Broughton and Miranda Lopez n one of the richest countries in the world, Americans seem to be one of the poorest in our disregard for human life.

Every day someone’s daughter is going without a meal and someone’s brother is begging for change. We all see it, but it is easier to look away.

No matter what side of the political divide you land on, we can all agree that change is essential to ending the epidemic of homelessness. According to the National Alliance to end Homelessness, 567,715 people in the nation are facing homelessness every night. So why is it not yet a reality? The substantial number of Americans living in inhumane conditions truly reflects the values of our nation. Do we truly value every voice? Do we truly care about every life? The lack of resources allocated to this social problem as well as the accountability in the distribution of its funds suggests that we do not.

Amid a national pandemic, those living on the streets are especially at risk for infection. Based on research done by the Centers for Disease Control, it is found that sleeping outdoors often does not provide protection from the environment, adequate access to hygiene and sanitation facilities, or connection to services and health care.

If the housing of thousands of Americans is a matter of such urgency, why are we still falling short? The Health and Economic Recovery Omnibus Emergency Solutions Act, or the HEROES Act, was created this year in response to the COVID-19 Pandemic.

Its purpose is to alleviate economic hardships for businesses, communities and local governments following the unprecedented virus. Despite ongoing conversations and minimal progress, it is unlikely that the updated HEROES Act alone will provide the resources needed to address the current problems. However, it should act as a springboard for addressing the issue moving forward. Even though it may seem like a small Band-Aid over a gaping wound, the HEROES Act 2.0 can be effective as long as

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it is followed up by a third stimulus package sometime next year.

Although this virus is a danger to a large portion of the population, individuals experiencing homelessness are some of the most vulnerable. A vital aspect of the relief package is the protection and housing of those in desperate need of resources.

According to research from the National Low-Income Housing Coalition (NLIHC), an additional $11.5 billion in Emergency Solution Grants (ESG) would be effective in ensuring that public safety measures are provided in shelters, as well as widening the access to those who need to stay there. Despite this estimate, the updated version of the HEROES Act provides just $5 billion towards the protection of the homeless community, about $10 billion short. Without additional assistance, thousands of U.S. citizens are left at risk.

There are many elements within the HEROES Act that make it a successful answer to the issues that plague our nation. However, this can only be considered a success if it is followed up by more legislation that provides the assistance needed long term.

Another $5 billion toward protecting those without shelter and $50 billion in rental assistance are both key missing pieces to the puzzle. Most research suggests that this is still not enough, but it is movement in the right direction. The short-term focus of the HEROES Act leaves an opening for providing more resources down the line. The United States has the opportunity to do so through a third stimulus package.

It is important that as a society we continue to advocate on their behalf in order to see this change come to light. While these partisan negotiations often feel unwinnable for the public, impact can still be made as constituents. We implore you to reach out to your representatives, sign petitions, and attend advocacy meetings where social distancing allows. But most importantly, be creative and intentional in using your voice for those who cannot. Though it often feels like an echo, it could be the very one to save a life.

www.Downtownnews.com

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Downtown News wants to hear from people in the community. If you like or dislike a story, let us know, or weigh in on something you feel is important to the community.

Participation is easy. Go to downtownnews.com, scroll to the bottom of the page and click the “Letter to the Editor” link. For guest opinion proposals, please email christina@timespublications.com.

New bus plaza Los Angeles County Metropolitan Transportation Authority (Metro) officials unveiled the Union Station Patsaouras Bus Plaza, a $51 million new busway station and pedestrian bridge that makes it significantly easier and safer for J Line (Metro Silver Line) and other Metro and Foothill Transit bus riders to access Los Angeles Union Station in making their regionwide transit connections. The new bus station on the south end of Patsaouras Plaza features full Metro station amenities, including a canopy, TAP vending machines, seating, lighting, closed-circuit TV surveillance, electronic message signs, ADA-compliant elevators, stairs and a pedestrian bridge connecting the platform with Patsaouras Plaza.

It is the latest Metro investment to improve the customer experience for bus riders in Los Angeles County.

Photo by Luis Chavez

NOVEMBER 9, 2020

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Covered California will help OPINION

Unexpected reason for an expected failure

By Shuwen Zheng uibi is dead,” announced Jefferey Katzenberg on October 21.

There are two types of startups: grassroots startups and those “born” with a silver spoon in its mouth. Quibi belongs to the latter.

Since its inception, Quibi had everything it needed to succeed in a highly competitive market. Co-founders Jefferey Katzenberg, former DreamWorks executive, and Meg Whitman, former eBay CEO, hired top talent from Hollywood and Silicon Valley to launch and safeguard their brainchild. Quibi raised more than $1.7 billion in financing before its launch with heavyweight investors like Walt Disney, Warner Media, Goldman Sachs and other top-tier corporations. Its future seems unlimited.

All the initial hype made Quibi’s eventual collapse seem improbable. Katzen-

“Q

berg blamed the COVID-19 pandemic. But a closer look suggests that Quibi was destined to fail from the onset.

Katzenberg’s innovation shows that he misunderstands the streaming service market.

Katzenberg wanted to deliver Hollywood-caliber content in short, episodic chapters. He envisioned a segmented market of Gen Z viewers who would stream digestible content on the go, satisfying their shorter attention spans.

When matched against streaming giants like Netflix and HBO, Quibi lacked the breakout content it needed to attract younger viewers beyond the free trial period. Quibi bet that Gen Z consumers would pay for 10-minute-long, episodic chapters that were produced by traditional Hollywood superstar talent.

But younger audiences are used to consuming free short-form video content on YouTube and TikTok. While the com-

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pany was very proud of creating “Emmy Award-winning content in a very short time,” the recognition was not compelling enough for the target market to pull out their credit cards and sign up. Content building is time consuming. There is no way for Quibi to win the market from the hands of media conglomerates who have laid a strong content foundation since the beginning.

Katzenberg’s reliance on elite Hollywood producers was a classic case of having the right talent at the wrong time.

Quibi’s investment in outdated Hollywood celebrities demonstrates Katzenberg’s misunderstanding of the market.

Katzenberg’s mobile -only approach backfired.

Platform variety still matters. Quibi opted to fight that desire for choice and instead prevented subscribers from sharing content on social media. The TikTok era has proven that Generation Z craves shareability: the easier to share, the higher chance of going viral. Quibi chose the opposite. The company depended on tra-

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ditional advertising to reach potential consumers, making it an advertiser-friendly platform, yet not a user-friendly platform. By preventing screenshots, Quibi loses valuable customers and decrease its presence on social media that should be an integral part of its Gen Z-oriented marketing strategy.

K atzenberg overes timated Q u ibi ’s “Turnstyle” technology that allowed consumers to shift seamlessly from landscape to portrait orientation. Consumers only need this feature at the beginning of a movie to adjust their viewing preferences. The notion that viewers would be constantly adjusting their screens on the go was a bit far-fetched. But even worse, it negated a key value proposition that Katzenberg hoped would captivate subscribers and transform viewing patterns.

Silicon Valley does not hold a monopoly of Gen Z loyalty. But Hollywood needs to reconsider its approach the next time it seeks to bridge the gap between quality content and popular technology platforms.

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FIGat7th giving back to community

By Annika Tomlin IGat7th wanted to support its restaurants and the greater community, so the manager of retail marketing, Leah Ross, created Dine with Purpose to do just that.

“Basically, I created the program so we could invite FIGat7th patrons to get $20 back on dining at one of our 15 restaurants and eateries, including Mendocino Farms, The Melt, George’s Greek Grill and Oleego By Parks BBQ,” Ross said.

“I just wanted to make it really easy, so customers have to spend $50 or more in a single transaction and then they submit the receipt to dinewithpurpose.com.”

This program runs until December 30.

Another way for customers to start the process to receive the $20 is by texting DINEFIG at 811811.

“We have a couple of very easy ways for people to do this, and it encourages people to go and maybe get a meal, like a Friday night date night meal or get a Sunday

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family meal, and spend that $50 or more in that single transaction and get this really great reward of $20,” Ross said.

Ross called the program a “win-win” because customers are getting something and “the restaurant doesn’t have to put any funds to support this promotion. It’s all being done by FIGat7th.”

The reward is in the form of a digital gift card that does not need to be used at FIGat7th, but Ross hopes that people do to help “support the restaurants.”

Owner of George’s Greek Grill Kamyar “Kam” Ajzachi thinks the program is “a good idea for something to give back to the community.

“We always appreciate what they offered to help out, and we are always happy to help out as well,” Ajzachi said. “I think it will definitely increase sales and get more people that don’t normally have the budget to dine out as much because of the whole COVID-19 situation, it will give them a little bit more leeway to be able to dine

The Melt at FIGat7th is one of 15 participating restaurants for the Dine with Purpose program running until December 30.

Photo courtesy The Melt

out and enjoy eating away from home.”

For two decades Ajzachi and George’s Greek Grill have been at FIGat7th. They were fortunate to stay open during the pandemic, only closing when it was mandatory due to “riots and the looting,” according to Ajzachi.

“George’s Greek Grill is a fixture there at FIGat7th, and people love the food,” Ross said. “They love the sense of community that they get from eating there and getting food from there.”

The senior director of marketing for Mendocino Farms, Riki Swindler, was “pleasantly surprised” when she was told about the program.

“We did not have any real heads-up about it, and I think it’s incredible to see the stuff that FIGat7th is doing—such an amazing initiative to support the local community and to help create the dining communities,” Swindler said. “It’s been a great part of our mission since we opened, so we feel very lucky to be partnering with them on this and being able to be part of it.”

Swindler hopes the program will “fuel the fire to bring business back at FIGat7th” to help the struggling restaurants during this time.

“I think like a lot of restaurants, our world was turned upside down back in March and there was a lot of quick thinking on our feet and pivoting that we needed to do so we could continue to be a viable and safe option for our guests,”

NOVEMBER 9, 2020

Swindler said.

“We did a lot of adapting kind of how the ordering worked in our stores. We did a lot of kind of increased cleanliness and safety measure improvements. And we put a lot more focus on kind of rolling out and improving our digital ordering offerings and even coming out with an app during the COVID-19 frames to make it as easy and safe as possible to continue to make food available to the local community.”

Swindler said a “big thank you to FIGat7th” on the conference call with Ross, who replied with a “you’re welcome” and that she does it “for you guys and for the restaurant community.” Ross also uses the app to order at Mendocino Farms.

In addition to Dine with Purpose, there is also Share with Purpose.

“There is a Share with Purpose program.

It comes when (customers) post a photo of their meal on Instagram with #DineFIGat7th, and FIGat7th will donate an additional $20 to the Social Justice Learning Institute—up to $10,000—that will go toward their response to food insecurity caused by COVID-19,” Ross said.

“When we were looking to choose the organization for the community component of this promotion, we really wanted to benefit an organization tied to both COVID-19 relief and social justice issues.

So, the Social Justice Learning Institute really was best for that.”

For more information about the program, go to dinewithpurpose.com.

Dine with Purpose offers a $20 giveback to customers who spend $50 at one of the participating restaurants with a single transaction.

Photo courtesy FIGat7th

NOVEMBER 9, 2020

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Covered DINING California will help

Chef Enrique Olvera arrives Downtown

By Frier McCollister he most highly anticipated restaurant opening in Los Angeles is here: Damian, the most recent effort by widely acclaimed Mexican chef Enrique Olvera and partner Daniela Soto-Innes.

They began serving clients from its overbooked reservation list as of October 21.

Located in a radically revamped warehouse space designed by architect Alonso de Garay and just across from Bestia on the bustling ministrip of East Seventh Place in the Arts District, Damian presents a series of fresh menu takes delivered by chef de cuisine Jesus “Chuy” Cervantes.

For those not in the know, Olvera presents haute-cuisine renditions based on various regional Mexican influences. After receiving critical recognition for his restaurant Pujol in Mexico City, he opened Cosme in New York City in 2014, followed

by Atla in 2017. For reference, Cosme was ranked No. 23 on the 2019 World’s 50 Best Restaurants List, the highest ranking of any U.S. restaurant.

First know that the regional focus here is Baja and its fresh Pacific seafood. The masa for the tortillas is nixtamalized onsite from scratch with Mexican heirloom corn sourced from artisanal supplier Masienda, which also supplies Cosme.

There is an obligatory fried fish taco served with cabbage and avocado salsa ($14). Two tostadas are featured in the upper section of the menu: fish tartare with avocado and furikake ($18) and uni with fresh slabs of sea urchin draped over a minced Caesar salad and thin slices of avocado ($21). The Tlayuda has shrimp, queso fresco and zucchini ($26).

The star of the middle section of the

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brief menu—which seems to indicate side dishes—is the tamal de elote ($16), a huskwrapped tamale of masa, fresh corn and queso fresco served with a dark red savory sauce of which the primary ingredient is Chicatana ant.

There are four ostensible entrée options in the third section, notably the carne asada ($40), served with a chile relleno and tabbouleh, and the vaunted albacore carnitas ($52), served with a variety of salsas.

Perhaps most notable, however, is the accompanying list of wines and agave spirits curated by beverage director Yana Volfson. It’s far lengthier and more detailed than the menu itself. One side features a selection of 28 wines, including three bottles from the Mexican house label Vena Cava from Valle de Guadalupe.

Seven of the wine selections are available by the glass ($9 to $14), and bottles range from $42 to $130.

The other side of the beverage page is an impressive list of artisanal small-batch mezcals and tequilas. These are offered in 1-ounce and 2-ounce pours, which range from $9/$16 to $17/$32.

By the way, the food menu includes two canned beer selections from Mexico listed as chelas: Monopolio Lager Clara and an amber, Oscura ($5).

I managed to cadge a 9 p.m. reservation on a recent Thursday and waited while three couples were seated ahead of me on the buzzing interior patio. I was greeted and escorted to my table by the cheerful hostess, India Bushnell, and then introduced to the eminently helpful and informative server Xavier Flores. Incidentally, the entire staff is both masked and visored. Guests are temperature checked

Damian, the most recent effort by widely acclaimed Mexican chef Enrique Olvera and partner Daniela Soto-Innes, began serving clients from its overbooked reservation list as of October 21.

Photos courtesy Damian

prior to seating, and the tables are disinfected after each visit.

I quickly allowed Flores’ innate charm to upsell me from the fish taco to the uni tostada and, because I’m a fan of Mexican insect preparations, the tamal de elote with the ant sauce. I also ordered a refreshing house margarita ($14) to recover from the stress of my misfired navigation coming off the 5 freeway. Flores also talked me through the mezcal and tequila lists with enthusiastic verve and genuine expertise.

The food is predictably perfect and the portions predictably paltry for the price points. I will say the ant sauce alone might warrant another visit if not its own label and jar to take home.

Of the many pandemic pivots and corrections, perhaps eventually a tighter calibration between artisanal deliciousness and price may emerge on what’s left of the fine dining landscape. That said, Olvera and company are intending to add a

more accessible takeout window operation off the alley of Damian called Ditroit sometime soon. Stay tuned.

Frankly, while it takes cojones to open an operation like this in the pandemic, dropping this style of cuisine into the heady churn of food culture in Los Angeles after opening in New York is also, well, ballsy. We don’t necessarily welcome carpetbaggers from New York, even if you’re actually from Mexico City.

This is not lost on Damian’s thoughtful and articulate general manager, Ana Odermatt. In a brief chat prior to leaving, we talked about the generational depth of Mexican food culture in Los Angeles and the prospect of participating in it. “(For us) it’s the feeling of LA being like Mexico City,” Odermatt said. “Now that we’re here, (we’ll) see how the pieces come together and how the communities interact with each other. We’re very humbled to be a part of this conversation.”

Damian 2132 E. Seventh Place, Los Angeles damiandtla.com

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Llewellyn joining vibrant neighborhood in January

By Christina Fuoco-Karasinski lex Valente of High Street Residential is such a believer in his company’s newest development that he’s moving into it.

The senior vice president is planning to reside with his fiancée at Llewellyn, a 318unit apartment community in Mission Junction on the eastern edge of Chinatown.

Located at 1101 N. Main Street at the intersection of its namesake, Llewellyn Street, the new complex features generous two-bedroom, one-bedroom and studio apartments with enviable amenities. The unit mix also includes 15 spacious groundfloor units with individual entrances and direct access to private outdoor patios.

Llewellyn started pre-leasing in October and will open for residents in January.

“We’re super excited about it,” Valente said. “It’s so funny. I love our branding team—the logo, the history of the site and the name all feel connected to each other.

“The neighborhood seems to love the project. We spent seven, eight years now in Chinatown on this project and another

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project. We’re maniacal about being in front of people and getting community input.”

Valente said he believes the area is the “coolest undiscovered gem of LA right now.”

He said, for example, the property meets Los Angeles State Historic Park.

“It’s beautiful,” he said. “It’s green. It’s kept up. It’s beloved by the neighborhood. It’s usually programmed (with events). There are movies, arts and craft fairs and whatnot.

This is for people who want to be next to the park. Because of specific zoning, breweries and wineries are right on the park.

Also, this area of Downtown allows you to sell retail and do light manufacturing, which is really hard to find in LA without a major variance with the city.”

Llewellyn spans a full city block and consists of two-bedroom residences, caters to a variety of renters, including those who share the cost of living with a roommate, professionals and creatives who work remotely and need a private home office, and young families.

Tailored amenities accommodate professional and leisure activities and include

Located at 1101 N. Main Street at the intersection of its namesake, Llewellyn is a new complex that features generous two-bedroom, one-bedroom and studio apartments with enviable amenities.

Image courtesy Altitude Design Office

a 1,700-square-foot co-lab workspace; two expansive rooftop decks with mountain and cityscape views; three communal courtyards; a heated pool and spa; multiple indoor/outdoor entertaining spaces with fire pits and barbecue grills; an outdoor children’s play area; a double-height fitness center; a dog spa; a bike service room and a soundproof “jam” room.

“You don’t want folks practicing in their apartment,” he said. “It’s a dedicated room where people can let loose and record something or practice. We just love that we’re removed from Downtown but still in Downtown. It’s a weird suburban/urban mix. Residents can walk across the street to breweries and a park—all within 50 feet.”

Pricing for studios starts at $2,125, one bedroom at $2,375 and two bedrooms at $3,250.

Valente said the complex has 50,000 square feet of amenity space, with almost all of it outside. Each courtyard has a different personality—the first is Zen with a water element; the second one has a pool and Jacuzzi clubhouse; and the third has outdoor barbecues, a movie area and an outdoor children’s element.

“Folks with young families who are not ready to buy a house can hang out in these courtyards, which are geared around community and family with a friendly environment,” he said.

Llewellyn derives its name from historic metal-making firm Llewellyn Iron Works, which supplied much of the steel that built early Los Angeles, including the ironwork inside the Bradbury Building, a National

NOVEMBER 9, 2020

Historic Landmark. The area surrounding Llewellyn is preceded by a rich industrial history that began with the construction of LA’s first transcontinental railroad station in the 1880s. This subsect of Chinatown, known as Mission Junction, is home to some of the city’s oldest warehouses that have since been repurposed as creative spaces.

Llewellyn is two blocks from the Chinatown Metro Gold Line Station, which links Union Station to Chinatown, Lincoln Heights, Pasadena and a planned extension to Montclair by 2026.

Llewellyn is two years in the making.

High Street Residential broke ground on the seven-story building in May 2019.

Building features include a hospital-grade MERV-15 air filtration system, antimicrobial furniture coverings, thoughtfully spaced seating arrangements in common areas and a dedicated package room.

Llewellyn started pre-leasing recently with a 500-person interest list and one leasing agent, Valente said. “We’re moving through (the interest list). We’re 5% preleased, which is nice, and we’ve only been going a week.”

Valente is looking forward to moving in.

“We think it’s going to be terrific for those who want a home office,” he said.

“My fiancée and I are moving in there. It’s just the two of us in a two-bedroom. We’re going to sleep in one bedroom and then I’ll work in the other room—and we’ll keep a little bit of extra closet space for our clothes.”

For more information visit llewellyn.la.

Llewellyn accommodates people of all backgrounds, with amenities ranging from a 1,700-square-foot co-lab workspace to leisure activities including a heated pool and spa, an outdoor children’s play area, and firepits and barbecue grills.

Image courtesy Altitude Design Office

NOVEMBER 9, 2020

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Perry Farrell recently released “Perry Farrell—The Glitz; The Glamour.” It’s a 35-year retrospective of Farrell’s life, music and arts that focuses on 68 alt-rock rarities that was served in vinyl and collectible box set.

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Perry Farrell emerges from the dark

By Christina Fuoco-Karasinski hen Perry Farrell hit 60 in March 2019, he knew he had to change.

He spent years in the dark but decided it was time to emerge.

“I just holed up and I partied. I didn’t want to completely be social,” Farrell said.

“I didn’t really want to completely become active, an active participant in society.

“At 60, you know how it feels, man.

You get a little wear and tear. We made it through this far. For the rest of my life, it’s maintenance and discovery. I want to maintain and be around and available, not just to people but my family for sure.”

Thanks to Farrell’s management, vaulted music hit stores November 6, pushing the singer’s legacy beyond “just” Jane’s Addiction or Porno for Pyros.

“Perry Farrell—The Glitz; The Glamour” is a 35-year retrospective of Farrell’s life, music and arts that focuses on 68 alt-rock rarities that was served in vinyl and collectible box set. This collection puts his stake in the ground, as it were, as the “Godfather of Alternative Rock.”

Across nine 180-gram vinyls, “Perry Farrell—The Glitz; The Glamour” takes fans through his expansive solo career, starting with his first band, Psi Com, and its fivesong self-titled EP. Recorded in 1985, just prior to the formation of Jane’s Addiction, the Psi Com sound was inspired by artists like Joy Division and Siouxsie and the Banshees.

The band was recently featured in new documentary “Desolation Center,” the previously untold story of ’80s guerilla mu-

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sic, art and culture in Southern California, which is available on all streaming video platforms.

From 2001, “Song Yet to Be Sung” was inspired by and recorded after a life-changing experience in Sudan helping free thousands of slaves from human bondage. This experience and album set forth Farrell as a humanitarian and his commitment to equality. The 12-song EP was written and produced by Farrell, who is joined on the album by lifelong friends including Dave Navarro (Jane’s Addiction), Martyn LeNoble (Porno for Pyros) and Stephen Perkins (Jane’s Addiction and Porno for Pyros).

Satellite Party’s 2007 album, “Ultra Payloaded,” was co-produced by Farrell, Steve Lillywhite and Nuno Bettencourt and features his wife and muse, Etty Lau Farrell.

The 12-song LP also included collaborations with John Frusciante, Flea, Fergie, New Order’s Peter Hook, Peter DiStefano (Porno for Pyros), Thievery Corporation and Mad Professor.

For the recording of 2018’s “Kind Heaven,” the alt-rock icon assembled guest stars—Elliot Easton (The Cars), Taylor Hawkins (Foo Fighters), Mike Garson (David Bowie), Chris Chaney (Jane’s Addiction), Etty Lau Farrell, Dhani Harrison as well as Tommy Lee, the Bloody Beetroots, Kascade and Joachim Garraud. It features singles “Pirate Punk Politician,” a searing indictment of the current state of our planet under a rising tide of autocratic regimes, and the soaring song of hope “Let’s all Pray for This World.”

“The project was led by my manage-

ment team,” Farrell said. “They came in, maybe a year ago, and they noticed I was all over the place. I hadn’t documented my career, all my pictures I’ve been saving, my life, my memories. My publishing was all over the place.

“I had four to five projects. Some of them were just sitting there gathering dust. They were beautiful projects. They started listening to it and they said, ‘We want to pull it all together and make a centrifuge or a center of gravity for it all.’

They really love the music. They wanted to know what happened to the music. I told them the industry just kind of evaporated or eviscerated slowly right before our eyes.”

Farrell worked on new music back then for the likes of Psi Com and then reality hit.

The Virgin Records store in LA shuttered.

“Tumbleweeds were going through the parking lot.

“It was a beautiful record,” he said. “But it would end up stillborn. The songs were so good, and I put so much work and time into it. They were lovely. We wanted to put out a box set and go all the way back to Psi Com.” The box set also includes an unearthed recording of Jim Morrison that Farrell composed and, to complete the circle, wrote and recorded with LA’s next-generation Starcrawler.

“I did the Jim Morrison song with a young group, Starcrawler, from LA, that I (had) produced and written with Taylor Hawkins and Starcrawler,” he said.

Eleven specially commissioned remixes and collaborations spanning two exclusive vinyls round out the set. These feature heavyweight luminaries from the electronic dance world, including Maceo Plex, Groove Armada, UNKLE, Solomun, Booka Shade, Richard Norris, Francois K and the Avalanches.

Photos by Meeno

Farrell compares the box set to the snacks his wife orders.

“My wife gets snacks from different countries, like Russia, another box from Korea, another from Sweden and then you get to taste what their potatoes are like,” he said.

“Some chips have a shrimp taste, and others are super sour gummies. That’s what the box set reminds me of. This crazy box of snacks. You go through it and you look at the packaging and you open the box really quickly and taste it.”

The COVID-19 pandemic has been devastating to Farrell, who founded Lollapalooza. This year, Lollapaloozas in Chicago, Brazil, Argentina, Stockholm, Paris and Berlin were canceled.

“We worked on Lolla 2020 as a virtual event,” Farrell said. “Honestly, I’m with the people, man. I stay on top of politics and current events. I’m very motivated because of Kamala Harris and the Democrats and BLM and I really want to participate in the world going forward.

“I think the next 10 years will be super exciting. We can retrofit or tear down the walls, become socially active and artistically active. It’s going to make it through. I’m inspired.”

During the COVID-19 pandemic, Farrell has been working on his memoir, another goal for his 60s.

“I have history,” he said. “When the pandemic hit, I said, ‘OK. I’m going to settle down and get my act together—probably what everybody’s doing—gather my music, my publishing, my pictures, stories and I’ve had a really fun time doing it.

“Now, I really feel I’m prepared to enter into the third act of life. There’s a lot you can accomplish in this third act. I don’t want to look at this third act as I have to slow down. I was slowed down in the middle. Now I feel like the best Perry I can be.”

Perry Farrell perryfarrell.com

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Haleh Mashian debuts retrospective show, fashion line

By Laura Latzko or her newest solo exhibit, “Figuratively Speaking,” artist Haleh Mashian gained a better understanding of the female form and essence through working with live models.

Mashian will present the retrospective show, a product of 25 years of work, at MASH Gallery in the Arts District through December. Along with her figurative artwork, Mashian has her digital art pieces on display.

Mashian is the owner of MASH Gallery, which provides opportunities for established and up-and-coming artists to display their artwork. Events at the gallery often incorporate fashion, music and art.

Mashian says the exhibition will give viewers a more personal look into who she is as not just an artist but individual.

“It’s painting different facets of who I am as a woman and being ready to put that out, being it beautiful, being it ugly, being it not pleasant, pleasant,” she said. “I think more than ever I feel the strength to want to do that. I think it was a very recent thing that I thought I am ready for this.”

None of the works on display have been shown before. Some are from early in her career while others are more recent.

Mashian works in different mediums as a painter, a mixed-media and digital artist and designer.

She has also composed music, having written songs to go with her exhibitions.

Throughout the years, Mashian has used different mixed-media techniques in her art, including collaging and impasto.

Viewers will get a chance to see the evolution of her techniques and styles over her

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career.

“As time has passed, I’ve become a lot more structural and more sculptural. It’s very interesting for me when I put all of my work together to see how far I came along from flat paint to all of this structural work,” Mashian said.

She felt like now was the right time to share her figurative work.

“I’ve been painting for so many years.

I always wanted to share it with my audience,” Mashian said. “I continued my painting throughout the pandemic. I wanted to show it all, good times, bad times. No matter what, life goes on and creativity goes on. I’m not going to wait for the perfect moment. This is the time for me.

“I know it’s the right thing for me to do. It’s part of my next journey. I have to show this to start something new.”

Hailing from Iran, Mashian has lived in the United States since 1987, when she was 20.

Mashian grew up with an architect father, who took her to painting classes as a child.

She was, however, more interested in music then.

As a teenager, she lived through the Iranian Revolution, during a time when an oppressive regime was in power. Her experiences left an indelible mark on her and her family.

“My family went through a major trauma.

I went through survival mode during that time,” Mashian says. “I really didn’t have a chance to explore something more than just surviving. So, had I not gone through that, maybe I would have gotten in touch with (my artistic side) earlier. I don’t know. Or maybe I would never have gotten in touch with it

Haleh Mashian’s “Figuratively Speaking” exhibition showcases figurative work from the last 25 years.

Photo courtesy of MASH Gallery

Artist Haleh Mashian recently released a collection of men’s and women’s clothing called MASH City.

Photo courtesy of MASH Gallery

if I’d never gone through that. It’s hard to say.

When you are in survival mode, all of your energy goes into survival. You need to be safe to want to explore other things.”

She says that the negative and positive experiences in her life have shaped her as an artist.

It wasn’t until later in life, though, that she began to want to explore her artistic side, and it started with figurative art.

She took an interest in figurative art while taking a class at UCLA Extension about 30 years ago. From then on, she always wanted to paint live models.

Over the years, she has worked with models of different shapes, sizes, ages, heights and ethnicities.

“I try to capture the essence of the model, not necessarily exactly what the model looks like. In a way, I get inspired by the model, but at the same time, I put my own twist to it,” Mashian said.

“That’s the whole beauty of creating, to see what is going to come out. The unexpectedness of it is what makes it exciting, what makes it creative. Something about the female form puts me in touch with that sense of adventure and sense of exploration.”

Although most of the pieces were done with live models, Mashian also drew inspiration from her imagination and photographs.

Each figurative piece provides a deeper glimpse into not just the model but the artist herself.

“When you think about it, we are all in search of ourselves, in some way or form. We are all human. We share so many traits at the same time. It’s a very individual but also a very collective experience,” Mashian said.

Mashian strives to keep evolving and exploring new mediums. This led her to fashion.

Along with her new solo show, Mashian recently launched a streetwear brand called MASH City.

A few years ago, she put out another fashion line called Maison H, but she says the new line has a better quality and is more fo-

cused.

Within her fall/winter collection, she combines fashion and art in colorful pieces for men and women of different generations.

“So many people of different age groups respond to it. I had an 18-year-old girl want to buy it, and then I have a 65-year-old woman who wants it,” Mashian said. “I think we can all stay inspired by something more.

Fashion to me is so boring. Everything is so bland. This has some life to it.”

The collection includes hoodies, bomber jackets, unisex joggers and rain jackets, flared skirts, limited edition T-shirts, camisole tops, hats, beanies, gloves, masks and handbags.

The designs were inspired by her digital artwork, mixed-media pieces and paintings.

“The inspiration all comes from the same place. It’s just a matter of where you want to channel it to. This has been one of the other avenues of expressing myself,” Mashian says.

She says that figurative painting has helped her to be able to work in other mediums.

“There’s nothing like a human figure.

You have to be so focused on the essence of the person, the lines, the shadows. Once you train your eyes for something like that, you can incorporate it into so many things,” Mashian said.

Haleh Mashian is a multitalented artist who works in different mediums, including paintings, mixed media and digital art and fashion design.

Photo courtesy of MASH Gallery

Haleh Mashian’s “Figuratively Speaking” Through December MASH Gallery, 1325 Palmetto Street, Suite 130 Admission is free

NOVEMBER 9, 2020

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Get cozy—virtual shows are aplenty this winter

By Olivia Dow rowd cheering, blood pumping and entertaining thousands of singing fans. These are experiences that artists everywhere are missing after the COVID-19 pandemic has halted concerts around the globe.

Artists are not the only people missing the rush of live music; fans are feeling the void as well.

Now, artists are bringing concerts to audiences at home. While these concerts may be different than what fans are used to, jamming out to your favorite artist in your pajamas could be a different but just as enjoyable experience.

Here are a few artists who are bringing live music to viewers at home.

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Patty Griffin Saturdays, November 21 and December 5 Patty Griffin will bring “Patty Griffin: A Residency Streaming Live from The Continental Club” to living rooms everywhere.

Each show in the series will be new, with partial proceeds going to benefit 18 independent venues in the country as the COVID-19 pandemic continues to devastate the live music community. A series trailer video is available via Griffin’s socials now.

General admission tickets are $25. Tickets are at mandolin.com.

The Radiators Friday, November 13 New Orleans rockers the Radiators will hit the Tipitina’s stage as well.

Tickets are $19.99 and can be found on the nugs.tv website.

Metallica Saturday, November 14 Metallica will perform live and acoustic at Metallica HQ in San Rafael, California.

Tickets start at $14.99 on the nugs.tv website. The profits from the show benefit the All Within My Hands foundation.

Brendan Benson Saturday, November 14 Acclaimed singer-songwriter Brendan Benson will celebrate his 50th birthday

with a livestream from the 5 Spot in Nashville. He’ll be accompanied by a full band comprised of members of the Shins, Eagles of Death Metal and Neon Castles.

Tickets start at $15 and can be found on the Noon Chorus website, noonchorus. com/brendan-benson.

Continuing with their comeback, the Jonas Brothers are working with Lenovo to host a free concert for fans.

Photo by Peggy Sirota

Toto Saturday, November 21 The classic rock band Toto will debut its new lineup during the show that replaces a massive worldwide tour the “Africa” act was supposed to do.

Tickets to see Toto are $15 and can be purchased on dice.fm.

Master Class with Sebastian Bach Thursday, November 19 Rocker and Broadway star Sebastian Bach offers virtual vocal lessons. ( Why not?)

Tickets are $300 and can be purchased through the universe.com website.

The Soul Rebels and Big Freedia Saturday, November 21 The Soul Rebels, an eight-piece New Orleans-based brass ensemble, teams with bounce’s Big Freedia for a livestream from Tipitina’s.

Tickets are on the nugs.tv website and are $14.99 for the one show, and tickets for six shows for $59.99.

Rocker and Broadway star Sebastian Bach offers virtual vocal lessons Thursday, November 19.

Jonas Brothers Thursday, December 3 Continuing with their comeback, the Jonas Brothers are working with Lenovo to host a free concert for fans. Further details for the show are to be announced.

Keep your eyes peeled on jonasbrothers.com.

Trans-Siberian Orchestra Friday, December 18 The TSO couldn’t bring its bombastic shows to arenas this holiday season, so the collective will perform virtually.

Tickets start at $30 and can be found at tsolivestream.com/tso/livestream.

Submitted photo

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